Elena del Río – författare

This book offers a unique reconsideration of the performing body that privileges the notion of affective force over the notion of visual form at the centre of former theories of spectacle and performativity. Drawing on Gilles Deleuze's philosophy of the body, and on Deleuze-Spinoza's relevant concepts of affect and expression, Elena del Río examines a kind of cinema that she calls 'affective-performative'. The features of this cinema unfold via detailed and engaging discussions of the movements, gestures and speeds of the body in a variety of films by Douglas Sirk, Rainer W. Fassbinder, Sally Potter, Claire Denis, and David Lynch. Key to the book's engagement with performance is a consistent attention to the body's powers of affection. Grounding her analysis in these powers, del Río shows the insufficiency of former theoretical approaches in accounting for the transformative and creative capacities of the moving body of performance.Deleuze and the Cinemas of Performance will be of interest to any scholars and students of film concerned with bodily aspects of cinema, whether from a Deleuzian, a phenomenological, or a feminist perspective.Key Features*The first study of the interface between Deleuzian theory and film performance.*A sustained consideration of the links between the body of performance and the body of affect.*A reevaluation of central concepts in earlier film theory-from fetishistic spectacle and performativity to Brechtian distanciation, sadomasochism, and narcissism.*An analysis of the relation of the performative body to a feminist politics.*New readings of classical melodramas as well as contemporary independent cinemas.

Both Viola and Simondon prioritise a techno-aesthetic experience that reveals a consistent pattern of interdependence between form and matter, nature and culture, human and nonhuman. Inspired by Simondon's ideas on individuation as process, and by other major figures of process philosophy such as Raymond Ruyer, Deleuze and Guattari, and Brian Massumi, Elena del Rio delves deep into Viola's art and finds a politics of nature that is also a politics of the affects. In taking full account of the interrelation between collective affects and living milieus, this politics exceeds the still anthropocentric project of a politics reductively focused on environmental degradation. The book works with a broad concept of ecology that encompasses a nature-culture continuum - from Simondon's associated milieu to Guattari's tripartite ecological praxis, from Deleuze and Guattari's existential territories to Massumi's affective events. Attending to this nature-culture continuum and activating our collective energies are prime strategies in tackling the overwhelming psycho-social and environmental crises we face.

Both Viola and Simondon prioritise a techno-aesthetic experience that reveals a consistent pattern of interdependence between form and matter, nature and culture, human and nonhuman. Inspired by Simondon’s ideas on individuation as process, and by other major figures of process philosophy such as Raymond Ruyer, Deleuze and Guattari, and Brian Massumi, Elena del Rio delves deep into Viola’s art and finds a politics of nature that is also a politics of the affects. In taking full account of the interrelation between collective affects and living milieus, this politics exceeds the still anthropocentric project of a politics reductively focused on environmental degradation. The book works with a broad concept of ecology that encompasses a nature-culture continuum - from Simondon’s associated milieu to Guattari’s tripartite ecological praxis, from Deleuze and Guattari’s existential territories to Massumi’s affective events. Attending to this nature-culture continuum and activating our collective energies are prime strategies in tackling the overwhelming psycho-social and environmental crises we face.

Both Viola and Simondon prioritise a techno-aesthetic experience that reveals a consistent pattern of interdependence between form and matter, nature and culture, human and nonhuman. Inspired by Simondon’s ideas on individuation as process, and by other major figures of process philosophy such as Raymond Ruyer, Deleuze and Guattari, and Brian Massumi, Elena del Rio delves deep into Viola’s art and finds a politics of nature that is also a politics of the affects. In taking full account of the interrelation between collective affects and living milieus, this politics exceeds the still anthropocentric project of a politics reductively focused on environmental degradation. The book works with a broad concept of ecology that encompasses a nature-culture continuum - from Simondon’s associated milieu to Guattari’s tripartite ecological praxis, from Deleuze and Guattari’s existential territories to Massumi’s affective events. Attending to this nature-culture continuum and activating our collective energies are prime strategies in tackling the overwhelming psycho-social and environmental crises we face.

For Elena del Río, extreme cinema is not only qualitatively different from the representations of violence we encounter in popular, mainstream cinema; it also constitutes a critique of the socio-moral system that produces (in every sense of the word) such violence. Drawing inspiration from Deleuze’s ethics of immanence, Spinoza’s ethology of passions and Nietzsche’s typology of forces, The Grace of Destruction examines the affective extremities common in much of global, contemporary cinema from the affirmative perspective of vital forces and situations—extremities such as moral/religious oppression, biopolitical violence, the pain involved in gender relations, the event of death and planetary extinction. Her analysis diverges from the current literature on extreme cinema through its selection of films, which include key international examples, and through its foregrounding of relational, affective politics over representations of sexuality and graphic violence. Detailed formal and philosophical analyses of films like The White Ribbon, Dogville, Code Unknown, Battle in Heaven, Sonatine, Fireworks, Dolls, Takeshis’, Inland Empire and Melancholia are meant to move us away from the moral appraisal of violence and destruction, and to compose an ethological philosophy of cinema based on Deleuze’s idea that, “when truth and judgment crumble, there remain bodies, which are… nothing but forces.”

For Elena del Río, extreme cinema is not only qualitatively different from the representations of violence we encounter in popular, mainstream cinema; it also constitutes a critique of the socio-moral system that produces (in every sense of the word) such violence. Drawing inspiration from Deleuze's ethics of immanence, Spinoza's ethology of passions and Nietzsche's typology of forces, The Grace of Destruction examines the affective extremities common in much of global, contemporary cinema from the affirmative perspective of vital forces and situations-extremities such as moral/religious oppression, biopolitical violence, the pain involved in gender relations, the event of death and planetary extinction. Her analysis diverges from the current literature on extreme cinema through its selection of films, which include key international examples, and through its foregrounding of relational, affective politics over representations of sexuality and graphic violence. Detailed formal and philosophical analyses of films like The White Ribbon, Dogville, Code Unknown, Battle in Heaven, Sonatine, Fireworks, Dolls, Takeshis', Inland Empire and Melancholia are meant to move us away from the moral appraisal of violence and destruction, and to compose an ethological philosophy of cinema based on Deleuze's idea that, “when truth and judgment crumble, there remain bodies, which are… nothing but forces.”

For Elena del Río, extreme cinema is not only qualitatively different from the representations of violence we encounter in popular, mainstream cinema; it also constitutes a critique of the socio-moral system that produces (in every sense of the word) such violence. Drawing inspiration from Deleuze's ethics of immanence, Spinoza's ethology of passions and Nietzsche's typology of forces, The Grace of Destruction examines the affective extremities common in much of global, contemporary cinema from the affirmative perspective of vital forces and situations-extremities such as moral/religious oppression, biopolitical violence, the pain involved in gender relations, the event of death and planetary extinction. Her analysis diverges from the current literature on extreme cinema through its selection of films, which include key international examples, and through its foregrounding of relational, affective politics over representations of sexuality and graphic violence. Detailed formal and philosophical analyses of films like The White Ribbon, Dogville, Code Unknown, Battle in Heaven, Sonatine, Fireworks, Dolls, Takeshis', Inland Empire and Melancholia are meant to move us away from the moral appraisal of violence and destruction, and to compose an ethological philosophy of cinema based on Deleuze's idea that, “when truth and judgment crumble, there remain bodies, which are… nothing but forces.”

For Elena del Río, extreme cinema is not only qualitatively different from the representations of violence we encounter in popular, mainstream cinema; it also constitutes a critique of the socio-moral system that produces (in every sense of the word) such violence. Drawing inspiration from Deleuze’s ethics of immanence, Spinoza’s ethology of passions and Nietzsche’s typology of forces, The Grace of Destruction examines the affective extremities common in much of global, contemporary cinema from the affirmative perspective of vital forces and situations—extremities such as moral/religious oppression, biopolitical violence, the pain involved in gender relations, the event of death and planetary extinction. Her analysis diverges from the current literature on extreme cinema through its selection of films, which include key international examples, and through its foregrounding of relational, affective politics over representations of sexuality and graphic violence. Detailed formal and philosophical analyses of films like The White Ribbon, Dogville, Code Unknown, Battle in Heaven, Sonatine, Fireworks, Dolls, Takeshis’, Inland Empire and Melancholia are meant to move us away from the moral appraisal of violence and destruction, and to compose an ethological philosophy of cinema based on Deleuze’s idea that, “when truth and judgment crumble, there remain bodies, which are… nothing but forces.”